Music - influence of Black music on White America

Ebony, August, 1991 by Lynn Norment

FOR more than 200 years, ever since the arrival of the first Blacks in English America, Black American popular music has been the mainstream that defined all other tributaries.

During and after slavery, Black Americans clearly demonstrated their propensity for improvisation in the songs they sang and played. Thus was born, at the turn of the century, ragtime and the blues, from which jazz evolved. Rhythm & blues emerged during the 1940s, rock |n' roll during the '50s, soul in the '60s, and funk and disco music in the '70s.

In each case, White Americans were greatly influenced by the Black music of the day. Consequently, says Jack |the Rapper' Gibson, a veteran of the industry. Black music was copied and expanded by While Americans, and While artists became rich and famous for their imitations. Among the more glaring examples were Elvis Presley, the Beatles and the Rolling Stones. And some argue that the creative choreography of Motown artists set the standards for the entire industry.

Historical creativity repeated itself in the 1980s, when Black again fashioned a new musical form, this time rap. In the midst of urban decay and hopelessness, this creative expression was born of frustration with social ills. Nevertheless, the aggressive, vehement urban street poetry took the country by storm in the mid-80s, permeating - if not dominating - ratio, advertisements and movies. Before long, While suburban kids adopted the inner-city, hip-hop culture culture and music, and propelled rap into Top 40 prominence.

Rap's mass appeal is especially exemplified by M.C. Hammer, whose phenomenally successful Please Hammer Don't Hurt' em LP (10 million sold) has made rap a universal music form. Hammer's rhymes are enhanced with more R & B tracks than what is considered hard-core rap.

Gibson and others in the music industry say the crossover response to Hammer and other rappers like L.L. Cool J has made it possible for the success of White imitators like Vanilla Ice, whose debut was the first rap record to dominate pop charts. Just as jazz emerged from the blues, Teddy Riley's new jack swing has evolved from rap. Combining synthesized melodies with hip-hop riffs, new jack swing drops in raps lines alongside real lyrics.

The '80s also saw the emergence of a number of young jazz musicians, most notably trumpeter Wynton Marsalis, who is an aggressive advocate of jazz as America's original classical music. Remarkably, he has won Grammy Awards for both jazz and classical music.

In addition, reggae, Bob Marley's Jamaican creation, has pulsated its way into the heartbeat of American culture. As evidence, the hugely successful Reggae Sunsplash toured 52 cities this summer, drawing large, mostly-White audiences.

And Black entertainers like Whitney Houston, Anita Baker and Luther Vandross continue to draw massive crossover crowds with good, old-fashioned singing. It is quite common now for classic soulful crooners like Vandross - and more recently Johnny Gill - to ascend the pop charts just as fast as they do R & B. And Whitney Houston's exceptionally stirring rendition of the "Star Spangled Banner" has sold more then 50,000 copies, proving that, yes, even the 177 year-old national anthem can be a hit when enhanced with a little soul.

The widespread appeal of Black music has precipitated the rise of a number of non-Black recording artists with distinctly soulful sounds. Notable among them are Mariah Carey, Paula Abdul, New Kids On The Block, Michael Bolton, and George Michael.

In addition, White artists are extending their reach by recording with Blacks. Bonnie Raitt and John Lee Hooker won a Grammy for their "I'm In The Mood," as did Aretha Franklin and George Michael for "I knew You Were Waiting For Me." Linda Ronstadt has recorded several duets with Aaron Neville. And Michael McDonald teamed with Patti with Patti LaBelle for the memorable " On My Own."

The influence of Black creativity also is evident in gospel music, another Black American creation. Last spring Amy Grant, a White Christian music recording artist, dominated pop charts. Before the Winans - Marvin, Carvin, Michael and Ronald, as well as Bebe and Cece - redefined contemporary pop gospel, it was rare for a Whire religious artists to appear on pop charts. The Winans' pervasive influence also is indicated by the emergence of Take 6, the clean-cut but hip a cappella sextet that can be found on gospel, jazz, R & B and pop charts. Take Six's success has led to a great increase in the number of a cappella recordings from Black and White artists.

The newest Black-propelled trend in the industry is the rise of the super producer. Says Janine McAdams, a music columnist for Billboard: "These powerful producers are equally if not more important than the artist. They are creating definitive styles." As entrepreneurs, these young talents - emulating pioneer superproducer Quincy Jones - are heading their own labels and tapping new talent.

Prince, a prolific songwriter who has penned hits for dozens of major artists, has his Paisley Park label. Rolling Stone wrote, "Prince called the tune for pop music the '80s, imprinting his Minneapolis sound on an entire generation of musicians, both Black and White." Jimmy Jam Harris and Terry Lewis, the creative force behind Janet Jackson's success, now have their own label. Perspective. Altogether, Harris and Lewis have written 50 Top 10 R & B singles and 20 Top 10 pop hits. Another power production/songwriting team is L.A. Reid and Babyface Edmonds, who last spring launched LaFace Records in Atlanta.